Life of a pornographer who tries to stay under the radar of the mob. He has a mistress, a step-son, a step-daughter (whom he's attracted to) and a wife who believes her first husband was reincarnated as a restless carp.
In a poor 19th century rural Japanese village, everyone who reaches the age of 70 has to climb a nearby mountain to die. An old woman is getting close to the cut-off age, and we follow her last days with her family.
Plastics salesman Oshima disappeared without a word to anyone, and has been missing for two years. Shohei Imamura and his crew follow Oshima's fiancé Yoshie and actor Shigeru Tsuyuguchi as they investigate the disappearance.
Kiyoshi is a brooding young man who treats women solely as objects. Makoto is a young woman who is just reaching her sexual awakening. She and her friends accept car rides from middle aged ... See full summary »
While his wife and children are away on holiday, a henpecked, daydreaming pharmacist begins a flirtatious relationship with the pretty girl in the boutique opposite. Almost a Japanese screwball comedy.
Japanese director Imamura Shohei shows how corruption and foreign occupation are able to ruin a city.
In any given economic scenario, it is easy to see how poor people become more poor while their rich counterparts are able to accumulate more wealth. This is depicted in 'Pigs and Battleships' through the sufferings experienced by a young Japanese boy who asks his girl friend to stop the sale of her body. Foreign occupation and rampant corruption are responsible for the decline in moral as well as social values of an occupied land. This idea has found complete favor in this film. A filmmaker cannot turn a blind eye at all to ills of the society in which he or she is living. After the making of Japanese film 'Pigs and Battleships', nobody can dare to accuse iconoclast Japanese director late Shohei Imamura of trying to denigrate Japan's image in the eyes of foreign powers. Director Imamura has always made it a point to have an honest yet frank portrayal of Japan's undesirable people in his films. By remaining honest to himself as well as his art, director Imamura has always portrayed what he has witnessed with his own eyes.
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